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S E T U P is a stage design and lighting design international studio founded by Znamensky Dmitry, Novikov Stepan and Zmunchila Pavel. The studio works in the field between contemporary art, lighting design and programming with a mission to explore the expressive opportunities provided by new digital technologies. S E T U P aims to create installations and multimedia works that can sharpen the physical perception of the environment and help explore more possibilities of image manipulation. Our creative product is high-tech multimedia work, concepts and laser installations. Our studio is open for experiments and is ready to cooperate with various artists to find the right visual interpretations for their work.

Solar Sinter
In this experiment sunlight and sand are used as raw energy and material to produce glass objects using a 3D printing process, that combines natural energy and material with high-tech production technology. Solar-sintering aims to raise questions about the future of manufacturing and triggers dreams of the full utilization of the production potential of the world’s most efficient energy resource – the sun. Whilst not providing definitive answers, this experiment aims to provide a point of departure for fresh thinking.

바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
Heart to Mouth
Sheath your arrows: the voluptuous red heart, international symbol of love, is reimagined in this a visceral new short by genre-defying Dutch artist Bart Hess. With echoes of high-tech fetish fashion and Jeff Koons’ contemporary pop art classic “Hanging Heart,” Hess’ latest video stages a Sapphic encounter from within crimson latex balloons.

Space observer
This huge sculpture is placed in California’s Mineta San Jose airport, where high-tech art welcomes the passengers. At the top of the escalator at the new Terminal B you will find Schuelke’s absurd machine. This giant three-legged sculpture explores the interactivity between humans and modern technology. It will quietly rotate with the aid of two propeller-tripped arms. And its ‘eye’ reveals images picked up from embedded cameras.

Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

digitalized
“Tron, a cult film from 1982, takes place in two parallel universes: the real and the virtual. Through a laser that converts real people into pixels, the world of Tron appears like a strange foreign world without sun, where androids live surrounded by 3D landscapes. The film has a strong retro character given by the era of production, which coexists with a high-tech nature. Both aspects are the basis of my collection. It consists in androgyn, straight silhouettes out of wool, leather, cotton and lack. Through different techniques I have created cube patterns on the surface of some of the materials. Giving the designs a technical yet minimalist character.”

wearable solar

There is nothing natural in nature; technology makes our humanness giving form to our surroundings. The human habitat reveals a techno-morphed structure that can no longer be hidden behind the vestiges of a natural world: technology has to be naturalized. Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

The Textile Room

Los Angeles-based P-A-T-T-E-R-N-S is among the most intriguing and progressive firms working in architecture today. They seem relentless in pushing boundaries in areas like ultra-light-weight high-tech materials and immersive media. They are also very thoughtful and patient in the way they approach design.This is good because what they are engaged in and the way they work takes time. By collaborating with engineers and innovators in different industries they are slowly changing the way architecture is carried out and conceived on material and ontological levels. They don’t do spec homes, they do what’s new, and sometimes try to do what hasn’t been done yet.

peau d’ane
For Montreal-based designer Valerie Lamontagne, the spark of creativity can come from the most unlikely of sources. In the case of her climate-reactive dresses, Lamontagne found inspiration in “Peau d’Âne,” a French fairy tale that begins with a king’s vow to remarry only when he finds a woman who equals his late queen’s beauty and virtue. Pressed to find a new wife, he concludes that his daughter alone qualifies. (Quel scandale!) The princess delays the wedding by demanding impossible prenuptial gifts, including three dresses made from moonbeams, sunlight, and the sky. Lamontagne recreates these fantastic gowns but with a high-tech twist: Each dress reacts—in real time—to changing weather conditions.

Intimacy Dress

INTIMACY is a high-tech fashion project exploring the relation between intimacy and technology. Its high-tech garments entitled ‘Intimacy White’ and ‘Intimacy Black’ are made out of opaque smart e-foils that become increasingly transparent based on close and personal encounters with people. Social interactions determine the garmentsʼ level of transparency, creating a sensual play of disclosure.

Жюстин Khamara

„Bis vor kurzem habe ich meine Fotocollagen erstellt, indem ich Hunderte von Bildern auf Film aufgenommen, fotografische Elemente von Hand aus ihrem ursprünglichen Kontext herausgeschnitten und mit Klebstoff zusammengeklebt habe. Ich war interessiert an der Beziehung des Fotos zu seinem Thema und daran, wie digitale Technologien das Verständnis des fotografischen Bildes verändern können. In der Installation Thud (2003) haben veraltete Produktionsmethoden eine Umgebung geschaffen, die die digitale High-Tech-Simulation „nachahmt“. Meine Illusion war buchstäblich hauchdünn – alle Oberfläche keine Tiefe – und erinnerte an Erinnerung, Verlust und ein nervenaufreibendes Gefühl der Sterblichkeit.